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SWIMMIN' POOLS 



Price, 25 Cents 




WALTER H- BAKER ^'CO 

BOSTON 



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^ijri^ jAlLjIlk. 



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BAKER, 5 Hamilton Place, Boston, Mass^ 



^ 



Swimmin' Pools 

A Romance in One Act 

For Male Characters Only 



By 
BELFORD FORREST 

Author of ''Lost Shee^," *' Failures t' etc. 



NOTE 

This play is an original work by the above author and his sole 
property. It may be performed by amateurs free of royalty and 
without express permission. The professional stage-rights are, 
however, strictly reserved, and performance by professional 
actors, given in advertised places of amusement and for profit, 
are forbidden. Persons who may -wish to produce this play 
publicly and professionally should apply to the author in care of 
the publishers. 



BOSTON 

WALTER H. BAKER & CO. 

19^9 



.©55s 
Swimmin' Pools 



PERSONS APPEARING IN THE PLAY 

The ••Kid." 
The •« Nut." 
" English." 
The Sheriff. 
The Man. 




Copyright, 1919, by Belford Forrest 

Free for amateur performaiice . Professional stage and 
moving picture rights reserved 



©C1.O 52H67 



L 



r ■ 



Swimmin' Pools 



The scene of this little romance is laid on a section of 
dumping ground outside the city limits of a small town 
in the middle west. The action takes place about nine 
o'clock on a moonlight night tozvards the end of May. 
All this, as you will at once perceive, is most con- 
venient. No scenery is really necessary. Any plat- 
form or vacant space can be made to suggest a dump- 
ing ground by the addition of a liitle judiciously se- 
lected junk — an old barrel, a few boxes, cans, bottles,. 
etc., etc. Of course, if you can get hold of a Christ- 
mas tree out of some one's back yard and set it up 
anywhere at the rear of the stage, so much the better. 
It will cast a nice shadow, provided you arrange your 
moonlight carefully. In fact, the whole success of 
your setting depends on your luck with the lights. The 
back of the stage should be almost dark, with just a 
suggestion of moonlight; and the foreground, zvhere 
the action takes place, lighted only by the hobos' fire. 

{Put your curtain up to soft music — remember, this is 
a romance. The audience shoidd, at first, be able to 
distinguish little more than the faces — .particidarly 
the faces — of the two hobos, Nut and English, 
sitting by their fire, down c. Build a good fire — 
plenty of wood around at least three or four red 
globes that will throw a strong, warm glow over the 
foreground. There shoidd be a fezv moments' si- 
ence before the Nut speaks.) 

Nut {he is a typical stage tramp, rather old and very 
grouchy. His voice is loud and foggy. He sits on a 

3 



swimmin' pools 



soap box, right of the fire, zvarming his hands). Well, 
how about it ? 

English (he is a broken dozvn dude. He might even 
zvear gloves with no finger tips, and a monocle. Of 
coarse, you have never seen a hobo wearing a monocle, 
neither have I, but anything is permissible in a romance. 
His accent is as English as his name. He sits on a box, 
left of the fire, very vainly endeavoring to blow through 
a dirty old pipe). How about what, old chap? 

Nut. Blowin'. 

English. Blowin' is no use. I've been blowin' the 
beastly thing for half-an-hour. Do you happen to have 
a hairpin about you? 

Nut. a what ? 

English. A hairpin, old chap. 

Nut. Say, what do you think I am anyway — a hard- 
ware store? Quit your kiddin'. We got to get a move 
on. That freight train up in the yard will pull out be- 
fore mornin'. 

English. Yes, old chap, but how about the Kid? We 
can't go without the Kid. {You won't expect me to try 
and spell ''Can't'' the way he pronounces it.) 

Nut {very peeved). The Kid! — Always fussin' about 
the Kid . . . ever since we left Chicago. Any- 
body'd think you was his godfather. Kid or no kid we 
got to get out of here to-night. We bin here too long 
already. It ain't healthy. 

English. I don't see anything wrong with the place 
— rather salubrious, I call it. 

Nut. No place ain't healthy for bos when the Sheriff's 
on the rampage. 

English. Yes, but what do we care? Let him 
bloomin' well rampage. We didn't have anything to do 
with the beastly robberies. 

Nut. Say — where was you raised anyway? {A 
whistle heard off stage r. which English answers.) 
These amacheurs make me sick. 

English {very excitedly). It's the Kid! 

Nut. Who did you think it was — the Prince of 
Wales? 



SWIMMIN POOLS 5 

Enter the Kid. 

Kid {he is our hero — young and picturesque. At the 
moment of his entrance he is the happiest hobo in the 
world. He comes quickly to the fire and stands smiling 
down at Nut and English. In his left hand, behind 
his back, he holds a delicious mince pie). Hello 
Nut ! . . . Hello, English ! 

Nut {bellowing), Wot's the idea? 

English. I say, old chap, where have you been? 
Can't you get home a little earlier? You're fearfully 
late for dinner. 

Kid {to Nut). Here! ... (To English.) 
Here ! {They lean forward. He produces the pie from 
behind his back and holds it over the fire, under their 
noses. With an emphatic gesture of his right hand.) 
Mince ! 

Nut {staggered). Pie! 

English {frightfidly impressed). Oh, I say! 

{The pie is already cut into three sections. They each 
take one and eat it ravenously in silence. This is 
a sure laugh that should last almost as long as the 
pie.) 

Nut {don't speak this until the pie is nearly gone). 
I hope you ain't been committin' a murder or nothin' 

English. Are there any more where this came from, 
old chap? 

Kid {smiling very knowingly. By this time he has 
foimd a box and seated himself betzveen Nut and Eng- 
lish facing the audience). You bet your life there's 
more where this came from, old top ! 

English. Then I rather fancy I'll stick around. 

Nut. Stick around nothin' ! We're goin' out of here 
to-night, and there ain't no time to lose. Ask the Kid — - 
he's wise. 

Kid. I guess that's good dope all right.. Some one 
took a crack at the post-office last night, and that's the 
third job been pulled off here inside of a month. The 



swimmin' pools 



Sheriff's seein' red — and he's goin' to round up every bo 
he can lay his hands on. I guess yon guys hud better 
beat it 

Nut. Us guys! Say, wot's the idea? 

English. It's the pie ! 

Kid. The idea is I ain't goin', 'cause I'm stayin' right 
here. And the dude's hit it first crack out of the box — 
{zvUh lots of meaning) it's the pie. 

NvT (catching on). O-ho ! 

English. But I say, old chap, how about the Sheriff? 

Kid (very cocky). The Sheriff don't cut no ice with 
me. . . . I'm goin' to work in the mornin' 

English | ^^^^ ' ^ "^^^^^ almost faint. ) 

Kid. On the level 

English. Don't you think you ought to see a doctor 
or somethin', old chap ? 

Nut. a doctor ! — nothin'. A minister more like. 
Ain't he just said it was the pie? Get wise . . . get 
wise. The Kid's in luv. 

English. In love! Oh, I say! 

Kid. I ain't said so. 

Nut. You don't have to say nothin'. I knows the 
symptums. It's the same old sickenin' story 

English. Same old story! 

Nut. Ain't you never read the Bible? Wot happened 
to Adam when he took the apple off of Eve? . . . 
He went to work — diggin'. 

English. I remember — in Genesis. 

Nut. In Genesis — nothin'. In the Garden of Eden. 
.. . . And along comes a skirt and hands the Kid a 
slab of mince — and he goes to work. 

English. Most surprisin' ! 

Kid. Say, ain't either of you guys ever fell for a 
dame ? 

Nut. See — wot did I say ; he's gone all fuzzy. Cough 
it up, Kid — you'll feel a lot better. 

Kid. What do yer mean ? 

English. Tell us all about it, old chap. 

Kid (keep all the first part of his story as bright and 



swimmin' pools 



lively as possible. Plenty of changes in tone and tempo). 
There ain't much to tell. ... It begin yesterday 
mornin', just after we gets here. I was nosin' around for 
a handout and hadn't had no luck. When all of a sudden 
I sees her — at least I sees her back — she was puttin' the 
wash on the line — wearin' one of them blue things and a 
sun-bonnet. There was a lilac tree in the garden just 
like we had back home, and I thought, maybe, it would 
bring me luck. ..." Excuse me, lady,'' says I. 
Then she turns round — and I didn't say no more. . . . 
Say, did you ever see one of them faces on the outside of 
a magazine with violet eyes — like swimmin' pools ? 

English. Swimmin'-pools ! 

Kid. Yes — and bulrushes growin' all around 'em 

Nut {very disgusted), I knows. 

Kid. Well, that's what her eyes is like. . . . '* Is 
there somethin' you want ? " she says. And her voice — 
say — talk about harps! 

Nut. Jew's-harps ? 

Kid. Jew*s-h^r^s — nothin'. Harps like they has in 
heaven ! 

Nut. I ain't never bin there. 

English {to Nut). Don't interrupt, old chap 

Kid. I tried to ask her what time it was — or some- 
thin' — but I couldn't say nothin'. I just stands there 
lookin' at her — like she was — an angel — and then — then 
she burst out laughin'. Say — you ought to hear her 
laugh! {Looking into the fire.) I ain't heard nothin' 
else — ever since. 

{A short silence.) 

Nut {slowly turning and looking at the Kid before 
speaking). That ain't all, is it? Wot about the eats? 

Kid. No, that ain't more than just the beginnin'. She 
comes up to the gate and says, *' You don't live here, do 
you ? " and I says, " No, miss, I guess I don't live any- 
where." Then she ask me if I'd come round to the yard 
and chop some wood 

Nut. I knows 

Kip, Say — I didn't wait to unhitch no gate, I just 



8 swimmin' pools 

lep over it and off with m'coat and starts after that 
wood-pile somethin' fierce. Abraham Lincohi spHttin' 
rails was nothin' to it ! 

Nut. Can yer bear it ! 

English. Oh, shut up, old chap. ... Go on, 
Kid. 

Kid. In a few minutes she comes out with a cup of 
coffee, all steamin', and sandwiches — on a plate — thick 
'uns — with real meat in 'em ! 

Nut. Geerusalem ! 

Kid. And while I was eatin' she just sat there on the 
back porch talkin' — an' talkin' — an' talkin'. 

English. Talkin' — what about, old chap? 

Kid. a lot of things. I could have set there all day 
listenin'. She said I didn't ought to be a hobo. And 
just as I was startin' back on the job, she comes over to 
the pile . . . and looks at me . . . kind of queer 
. . . and says, "Ain't you got no mother?" . . . 
and I tells her, " No, I ain't got no mother . . . she's 
dead." Then she looks way off to the hills and says, 
quite simple like, " So's mine." (A silence — nobody on 
the stage moves until the Kid speaks again.) Then I 
spills the whole story. How I ran away from home with 
a circus, and how I got into trouble in Chicago 

Nut. You ain't told her you done time! 

Kid. I tells her everythin' 

Nut. Can yer beat it ! 

English {very annoyed), I wish you'd keep your 
face closed. How many more times must I tell you! 

Kid. When I goes back next mornin', like she tell me, 
she keeps me there all day, cleanin' up the yard and doin' 
odd jobs, 'til her father come home. He runs the grocery 
up to the crossroads. He gives me the once over and 
says, *' Mary was tellin' me about you " 

English. Mary ! 

Kid. Yes, that's her name — Mary. Then he offers 
me a job — and I accepts. And from now on it's the 
straight and narrow — and Mary. 

Nut. Very affectin'- 



English. I — I once knew a girl named Mary 



SWIMMIN* POOLS 



« 

Kid. Did yer? It's a beautiful name — ain't it? (A 
pause; getiing up,) Well, I guess I'll beat it. 

Nut. Wot's yer hurry ? 

Kid. I only come down to kiss you guys good-bye and 
slip you a bit of the pie she give me 

Nut. Very kind and considerate, I'm sure. Chuck us 
a bit of wood oil that there heap of junk — it's gettin' cold. 
{To English, who is silting vacantly staring at the fire.) 
Cheero, English ! You ain't goin' mushy, too — is yer? 

English. No, old chap . . . I . . . I . . . 
r was just — thinking 

Kid {at junk heap up stage). Holy sizzelum! 

Nut. Wot's the trouble ? 

Kid. a cash box ! 

Enclish. JAcashbox! ^ " 

Kid {coming quickly down to fire with box). Locked! 

. . And somethin' on the inside! 

Nut. For the love of Mike ! 

English. I'll be blowed ! 

Nut. Hurry up ! . . . Open it ! ' 

Kid {bending over fire, examining the box. As Nut 
speaks, he begins to try to wrench open the box). Open 
it! . . . {Still crouching over the fire, he becomes 
suddenly motionless. For a moinent there is a look of 
agony on his face. Then he smiles, straightens up to his 
full height, puts the cash box under his left arm, and 
looks the Nut straight in the eye.) Nothin' doin' 

Nut {roaring). Nothin' doin'! Here, give it to me. 

{Tries to take box,) 

Kid. Not on your life. Findin's keepin's. ... I 
guess the guy who pulled off that job up at the post-office 
last night made some quick get-away. 

English. And left a lot of little things behind him — 
ha — ha ! 

Kid. Well, boys, I'm off — so long. Change your sox 
and say your prayers reg'lar {Going R.) 

Nut {stepping quickly in his way). Say — where 
d'you think you're goin' ? 



10 swimmin' pools 



Kid (zuith plenty of punch), I'll tell you where I'm 
go\n\ I'm goin' to the Sheriff's office with this box 

Nut {grabbing box and crossing c). No — you 
ain't 

English. Steady on — old chap ! 

Nut. Hold your row. 

Kid. Give me that box, damn you! 

Nut. Gee, ain't she peevish! And sich langwidge! 
Run along home, honey, and wash your dishes — and give 
mv luv ter Marv 

Kid {fighting mad). Say, Nut, I ain't goin' to ask 
you again ! 

Nut. Oh! That's your game — is it! {Throws box 
to English.) Here, hold the stakes, dude! 

English {throwing box across the stage to the Kid). 
Beat it. Kid. 

{The Kid catches the box, turns, and bolts with it 
straight into the arms of the Sheriff who enters 
from R.) 

Sheriff {a big man with a big voice. He dominates 
the scene. With a good grip on the Kid's shoidder). 
What's yer hurry? {Catching sight of cash box and tak- 
ing it in both hands. Speaking very slowly.) Just what 
I was a-lookin' for. ... I been layin' for you bums 
all day. I guess I got you right this time. 

Nut. Wot's the idea? 

Sheriff {crossing c. to Nut). What's the idea! I'll 
soon show you what's the idea when I gets you up to the 
jail. 

English. My dear old chap — you're under a slight 
misapprehension 

Sheriff. Too bad — ain't it, ol' dear! 

Kid. Say, Sheriff, listen here. I didn't steal that box. 
I just found it in the dump heap ; I was bringin' it up to 
your office 

Sheriff. Is that so ! Well, well Say, what do 

you guys take me for 

English. It's jolly well true, old chap — every bloom- 
in' word 



swimmin' pools II 

Kid. rm goin' to work to-morrow, Sheriff, up to 
Brown's grocery. I ain't no thief 

Sheriff. Oh, you ain't — ain't you ! And maybe you 
ain't '' Kid " Dargan from Chicago ! And maybe I ain't 
got your photograph up to the office! And maybe you 
ain't never done time! . . . goin' to work up at 
Brown's grocery ! . . . Come on, step Hvely, or I'll 

pump a little lead into you 

. Nut. Eyes like swimmin'-pools! 

Sheriff. Come on — the lot of you ! 

Kid. Listen here. Sheriff. I'm " Kid *' Dargan all 
right, and I done time for that rough house down at 
Doyle's, but I'm goin' straight, I tells you. I ain't done 
nothin' worse than panhandlin' since I come out. And 
I'm goin' to work to-morrow. If you jugs me nozv, I 
don't stand no chance — not with my record, and I ain't 
done nothin' but what's right 

Sheriff. What's the use of your standin' there tellin' 
lies? 

Kid. I ain't lyin' — I ain't 

Nut. Oh, wot's the use ! 

English. Just a moment, old top, the Kid is tellin' 
the truth. 

Sheriff. Listen to the noble Earl ! 

English {coming to Sheriff, c. Nut moving down 
L.). You're a very clevah fellow. Sheriff, . . . very 
clevah — and I'd awfully hate to see you get the ha-ha 
from every cop in the Town Hall. The Kid didn't steal 
the bally box, and I can bally well prove it — because — be- 
cause — I bally well know who did steal it. 

Sheriff. Oh, you do — do you ! 

English. Yes, old chap, and if you'll let the Kid 
go^ — I'll squeal. 

Sheriff {sarcastically). I'll let him go all right — 
when the thief shows up! {Laughs.) 

English. Thanks awfully, old chap. Then I guess 
the Kid will punch the chronometer on time up at the 
grocery to-morrow mornin' 

Kid. Say — what do you mean 

English. Oh, well — you see, old chap, as you were 



12 SWIMMIN* POOLS 

treadin' the straight and narrow and all that sort of thing, 
I thought when you found the cash box over there, I 
wouldn't hurt your feelin's by tellin' you that I stole the 
beastly thing. 

Kid. You stole it! 

Nut. Can you beat it ! 

English. Officer, do your duty 

Kid. Quit 3'our kiddin'. He's lyin', Sheriff. He 
never stole nothin' in his whole life 

Sheriff. You're all lyin' 

Nut. I ain't said nothin' 

Sheriff. I'll put all three of you where you can talk 
it over comfortable and get the story straightened out be- 
fore mornin' — — 

Nut. But I say, old chap — you said you'd let the Kid 



go 



Sheriff. Never mind what I said. . . . Step 
lively 

{But at this moment the Man enters from right and 
walks briskly over to the junk heap which he investi- 
gates vigorously, humming a tune the while. All 
turn and watch him with the utmost curiosity. Sud- 
denly he ceases his explorations and surveys the 
Sheriff and his victims with considerable amuse- 
ment. ) 

Man {he is a nice man with a dandy laugh). Hello, 
Sheriff, roundin' up the bos ! {He resumes his operations 
on the junk heap for a moment. Then he turns again to 
the group dozvn stage. ) Say, have any of you bums seen 
a cash box lying around here? {Comes down c.) 

Sheriff. A cash box ! 

Man. Oh ! I see — you've got it ! 

Sheriff {very importantly). You can bet your life 
I've got it — and it ain't been opened — and what's more, 
I've got the thief, too ! 

Man. Oh ! have you — have you ? 

{He laughs very heartily indeed.) 
Sheriff. What's the joke? 



SWIMMIN POOLS 13 

Man. Oh, nothing. {Laughs even more heartily,) 
Sheeiff. Oh, I beg your pardon. I thought maybe 

it was somethin' funny. 

Man. I guess you'd better hand that box over to me. 

And if I was you, Sheriff, I wouldn't say anything about 

catching the thief. 

Sheriff. Is that so ! - 

Man. Well, you see they've got the thief up at the 

Town Hall, and they've got the money too. {The Sheriff 

laughs. ) I knew you'd laugh when you caught on ! 
Sheriff. Got the thief, have they, and the money? 

{Laughs uproariously.) 

Man {quite enjoying the joke). Yes, and the guy said 
he dumped the box down here, and the postmaster sent 
me after it . . . here's the key. 

Sheriff {no longer laughing). The key! . . • 
Give it here. ( Unlocks the box — and pours out contents: 
dirty paper, stones, string, nails and other junk. Throw- 
ing dozvn the box.) Oh, hell! 

{Of course if you think your audience would much 
prefer him to say, "" Oh, rats!'' — why shouldn't hef 
This is a romance. Whatever he says, he goes off r., 
blazing mad and forgets all about the hobos. While 
he was having his conversation zvith the Man, they 
have all three disappeared: The Kid r., the Nut l., 
English up stage back of the junk heap. The Man 
picks up the box, tucks it safely under his arm, — and 
follows the Sheriff off r., still laughing very mer- 
rily. Above the junk heap appears the head of 
English. He looks round. No one being in sight, 
he whistles. Immediately there comes an answer 
from the Nut, followed by a similar chirrup from 
the Kid. Then all three tiptoe into the center of the 
stage. They stand watching, with obvious glee, the 
fast disappearing Sheriff. Then they exchange 
broad grins of satisfaction. The Nut zvaves his 
hand to the Kid and makes a quiet get-away off l. 
English also waves farewell and starts after Nut — 



14 SWIMMIN POOLS 

bat only for a step or two. He turns hack quickly 
to the Kid and there's a great hand-shake. Then he 
follows the Nut. The Kid stands gazing after them 
for a moment, before turning to the audience with 
something like a sigh. His hobo days are ended. 
IJ'lth a quick glance tozvards the town, he smiles and 
braces up. Maybe he says '" Swimmin* -pools " — it 
sounds something like that — but zvho cares? We 
know as he struts bravely off that from now on ^* it's 
the straight and narrow — and Mary.'') 



CURTAIN 



THE MAN WHO. WENT 

( Originally produced under the title **The Black Feather, ** ) 
A Play in Four Acts 
By W, A. Tremayne 
Seven males, three females. Scenery, one interior and one exterior^ 
Costumes, modern. Plays a full evening. Royalty, ^lo.oo for the first 
and ^5.00 each for other immediately succeeding performances. An ex- 
ceptionally stirring and effective play of the Great War, produced vith 
great success in Canada as the successor of the popular " The Man Who 
Stayed at Home.'* Jack Thornton, a King's Messenger, entrusted v.'ith 
important state papers for delivery in Vienna, is robbed of them through 
his attachment to a lady in the Austrian secret service, and his career 
jeopardized; but by the cleverness and daring of Dick Kent, of the Eng- 
lish secret service, who is in love vi^ith his sister Evelyn, the plot is frus- 
trated in a series of thrilling scenes, and all ends well. An exceptionally 
well built drama, full of sensations, ending in a strong last ac" ^ul! of 
" punch." A good play for any purpose, but ideally suited to the* temper 
of the present. Plenty of comedy, easy to stage, and confident!* >ecom- 
mended. Price ^ 2^ cents 

CHARACTERS 
Dick Kent, in the English Secret Service, 
Jack Thornton, a King s Messe7iger. 
Baron Von Arnheim, in the German Secret Service. 
Sir George Caxton, in the British Foreign Office, 
HoGUE, a German spy, 
Barnes, a chauffeur, 
Patton, a keeper, 
Evelyn Thornton, Jack' s sister. 

Countess Wanda Von Holtzberg, in the Austrian Seen ' "^eri'ice. 
Lady Venetia Caxton. Sir George' s wife. 

The action of the play takes place in the early summer of ^014, 

SYNOPSIS 

Act I. Jack Thornton's chambers in Portman Square, l-ondon. 
Dealing the cards. •' Beware of the dog." 

Act II. A retired corner of Sir George Caxton's estate m Kent. 
Dick takes the first trick. "The son of his father." 

Act III. Jack Thornton's chambers. A bold play. '^ Drive 
like the devil, Barnes — we've got to make Charing Crossby nine.'' 

Act IV. Jack Thornton's chambers. Dick wins the game> 
** Tightening the bonds of Empire. 

OUTWITTED 

A Comedy Dramatic Novelty 
By Harry L. Newton 
One male, one female. Scene, an interior ; costumes, modern. Plays 
twenty minutes. Sherman, a United States Secret Service man, encoun- 
ters Sophie, supposed to represent the enemy, and a duel of wits ensues. 
Very exciting and swift in movement, with an unexpected ending. Good 
work and well recommended. Price, 2^ cents 



AT THE SIGN OF THE SHOOTING STAR 

A Comedy in Three Acts 
By Gladys Ruth Briii^ham 
Ten male, ten female characters. Costumes, modern ; scenery, an in- 
terior and an exterior, bolli easy. Plays about two hours. Believing that 
Shirley Glenfield and her nei)hew are enemiesof Gravaria, Ulric, prince 
of that kingdom, obtains employment as Miss Glenficld's chaufteurand in- 
volves her in grave trouble with the secret service of his country. After 
many exciting experiences and narrow escapes Ulric discovers only that 
Shirley is a friend of his country and not an enemy. Introduces a cab- 
aret entertainment if desired. 

Price^ 2J cents 

CHARACTERS 

Mason Jones. Lieutenant DeGoza. 

Camilla Glenfield-Jones, Philjp Levrone. 

his wife. David Perkins, M imager of the 
Lionel Jones ) , . *'Frolicksome Maiden'' Co, 

Rupert Jones \ "^^'"* Hyacinth, his partner, 

Agatha Jones | his Molly Baker. 

Rosalind Jones | daughters, Lesley Mordaunt. 

Anderson Glenfield, M. D. Helen Victor. 

October Dawn. Dorothy Moulton. 

Nelson Parkhall. Grace Hartley. 

Tom Phipps. Shirley Glenfield. 

SYNOPSIS 

Act I. Living-room in the home of Mason Jones, Upbridge, Mass. 
Act II. Exterior of the '* Shooting Star," coast of Venezuela, neai 
La Guayra. 

Act III. Interior of the ♦* Shooting Star." 

KID CURLERS 

A Farce in One Act 
By Dorothy Waldo 
Two male, two female characters. Scene, an interior ; costumes, 
modern. Plays thirty minutes. Jonns Pinch, a cranky old bachelor, in 
terror of German spies and dynamite, takes a pair of" kid curlers" be- 
longing to Amanda Gull, an old maid, for fuses and kicks up a disturb- 
ance that she is unwilling to explain away. Easy and funny. 

Price f /J* cents 

AN OLD MAID'S VENTURE 

A Comedy in One Act 

By Elm a M. Logie 
Three female characters. Scene, an interior ; costumes, modem. 
Plays twenty minutes. Miss Mary Simpkins, an old maid, advertises for 
a *• boarder " hoping to secure a husband, and is disappointed to find that 
^er only applicant, Frank Smith, is a young lady. 

Price ^ 15 cents 



i 



I 



Plays and Novelties That Have Been '' Winners 

Males Females Time 

The Americana 1 1 i '/^ hrs. 

Anita's Trial 

Art Clubs are Trumps 

Behind the Scenes 

The Camp Fire Girls 

A Case for Sherlocic Holmes 

The Farmerette 

Getting the Range 

Her First Assignment 

Hitty's Service Flag 

Joint Owners in Spain 

A King's Daughter 

The Knitting Club Meets 

A Lady to Call 

Leave it to Polly 

The Minute Man 

Miss Fearless & Co. 

A Modern Cinderella 

Moth= Balls 

Rebecca's Triumph 

The Thirteenth Star 

Twelve Old Maids 

An Awkward Squad 

The Blow°Up of Algernon Blow 

The Boy Scouts 

A Close Shave 

The First National Boot 

A Half » Back's Interference 

His Father's Son 

The Man With the Nose 

On the Quiet 

The People's Money 

A Regular Rah ! Rah ! Boy 

A Regular Scream 

Schmerecase in School 

The Scoutmaster 

The Tramps' Convention 

The Turn in the Road 

Wanted— A Pitcher 

What They Did for Jenkins 

Aunt Jerusha's Quilting Party 

The District School at Blueberry 

Corners 
The Emigrants' Party 
Miss Prim's Kindergarten 
A Pageant of History 
The Revel of the Year 
Scenes in the Union Depot 
Taking the Census in Bingville 
The Village Post-Office 
Women in War 

BAKER, 5 Hamilton Place, Boston, Mass* 





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v-^ 



Plays for Colleges a 

Males i 

The Air Spy 

Bachelor Hall 

The College Chap 

The ColonePs iMaid 

Daddy 

The Deacon's Second Wife 

The District Attorney 

The Dutch Detective 

An Easy Mark 

The Elopement of Ellen 

Engaged by Wednesday 

The Farmerette 

For One Night Only 

Hamilton 

Hlgbee of Harvard 

Hitty's Service Flag 

The Hoodoo 

The Hurdy Qurdy Girl 

Katy Did 

Let's Get Married 

London Assurance 

Lost a Chaperon 

The Man from Brandon 

The Man Who Went 

The Man Without a Coun.ry 

Master Pierre Patella 

Me and Otis 

The Minute Man 

Mose 

Mr. Bob 

Mrs. Briggs of the Poultry Yard 

Nathan Hale 

Nephew or Uncle 

Professor Pepp 

A Regiment of Two 

The Revenge of Shari-Hot-Su 

The Rivals 

The Romancers 

The Rose and the Ring 

Sally Lunn 

The School for Scandal 

She Stoops to Conquer 

Step Lively 

The Submarine Shell 

The Thirteenth Star 

The Time of His Life 

Tommy's Wife 

The Twig of Tbora 



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LIBR^RiT OF CONGRESS 

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>5c 
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15c 
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25c 
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Special 
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Special 
Free 



Special 
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^lO.CK) 

Free 



Special 
Free 



For " special " royalties, see catalogue descriptions for 
detailed information. 

BAKER, 5 Hamilton Place, Boston, Mass* 



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